mikeweil

Yesterday a friend of mine told me he never has any trouble copying protected CDs when using an old version of Nero Burning Room from 1998 or '99 - the problems could be at least partially caused by the newer burning software that comes with DVD burners.

Like Jsngry said, he was a BAD dude. He had it all down.

Very interesting thought! I think I can agree, 'cause that's the music he plays with all his heart and spirit, and playing modern he is more the intellectual type. I find Freddie Hubbard somewhat overrated, playing superficial stuff at times and too self-indulgent. Randy Brecker. Very good studio man, but not very original as a soloist. I think Booker Little is not overrated - he was still very young when he passed, and who knows what wisdom would have made out of his great tone? Kenny Dorham - couldn't disagree more - probably not to everyone's taste, but one of the greatest. Agree on Sandoval - too much flash.

Doc Cheatham Emmett Berry Of the one mentioned: Richard Williams Marcus Belgrave Johnny Coles Ted Curson Michael Ray Charles Sullivan Ray Nance Don Ellis I agree that Cal Massey was a very good composer, but his trumpet chops leave too much to be desired, as can be heard on his sole Candid LP.

My sincere condolations, ghost, and my best wishes to the spirit of Steve Lacy, whereever he is. Either way, I will sorely miss him ....

Gary Bartz Ntu Troop: Harlem Bush Music ~ Milestone (street date 6/29) "In late 1970 to early 1971, when the sessions that produced the companion LPs herein were recorded, the notion of "Black consciousness" had come to the fore in both pop/soul and jazz. During this period Gary Bartz (b. 1940), a rapidly-rising alto saxophonist whose muscular attack had attracted the attention of Miles Davis, who hired him to share the front line in the trumpeter's fusion group, also formed the potent Ntu Troop. Like tenor saxophonist Pharoah Sanders's contemporaneous quartet featuring singer Leon Thomas, this version of the Ntu Troop spotlighted a saxophonist-vocalist team in Bartz and Andy Bey, whose recent resurgence has been among the happier musical stories of the early 21st century. The lyrics addressed various aspects of urban African-American life; with Bartz providing the obbligatos and solos on alto and soprano saxophone, Bey eloquently addressed such matters as Black pride and self-determination as well as the daily joys and sorrows of Black America. Harlem Bush Music finds post-bop and post-Coltrane sensibilities melding with African sounds, yielding music that is equal parts mind, body, and soul. Rise, People Dance, Drinking Song, Taifa, Parted, The Warriors' Song, Blue (A Folk Tale), Uhuru Sasa, Vietcong, Celestial Blues, The Planets with Andy Bey, Ron Carter, Joony Booth, Harold White, Nat Bettis" Paul Bley: Circles ~ Milestone (street date 6/29) "Paul Bley (b. 1932) has always been well ahead of the curve. In New York in the late 1950s to mid-'60s Bley and Cecil Taylor were the two most consistently adventuresome pianists on that highly-charged scene. During the 1960s Bley introduced many important compositions written by Carla Bley (his first wife) and Annette Peacock (his second), both of whose works figure prominently in Circles. Bley had previously recorded some of these pieces--but never quite like this. In yet another example of his musical foresight, he pioneered the use in jazz of the then-still-new ARP synthesizer. On the first half of this disc he's accompanied by several young, open-eared rhythm sections, while his bass-and-drums partners for the set's remainder are the inestimable Dave Holland and Barry Altschul, the drummer-percussionist most highly attuned to Bley's conception. Heard herein on RMI electric piano and grand piano as well as synthesizer, Bley successfully transfers his splintered lines, broken rhythms, and foreboding, pointillistic ballads to forge a new electronic landscape. The Archangel; Nothing Ever Was, Anyway; Gary, Snakes, Parks, Circles, El Cordobes, Capricorn, King Korn, Dreams, Syndrome, Gesture Without Plot, Ictus with Dick Youngstein, Glenn Moore, Frank Tusa, Steve Haas, Bobby Moses, Dave Holland, and Barry Altschul" Richard "Groove" Holmes: Super Soul ~ Prestige (street date 6/29) "In 1967, when the two LPs that comprise this CD were recorded, organist extraordinaire Richard "Groove" Holmes was still riding high from his 1966 hit single "Misty," which climbed to number 12 on Billboard?s R&B chart. One of the top names in "soul-jazz," Holmes (1931-1991) was a big man with a sound commensurate with his size. On the first ten selections herein, Holmes grooves in front of a first-call Chicago big band arranged and conducted by Richard Evans, best known for his work with pianists Ahmad Jamal and Ramsey Lewis; on the remainder of this collection the organist fronts a sextet featuring tasty guitarist Wally Richardson. The repertoire tends toward soul and pop hits of the day ("Ain't That Peculiar," "Sunny"), but there are also the straight-ahead Groove-ers ("On Green Dolphin Street, "The Preacher," "I Will Wait for You") and low-lights ballads ("In Between the Heartaches," "Since I Fell for You") that won Holmes the kind of popularity not customarily associated with true jazz players. Why Don?t You Do Right?, Ain?t That Peculiar, In Between the Heartaches, Function at the Junction, On Green Dolphin Street, I Will Wait for You, (Back Home Again In) Indiana, Tennessee Waltz, Bluesette, Super Soul, Soul Power, How Can I Be Sure?, Sunny, Since I Fell for You, The Preacher, Girl Talk with Dave Blume, Ben Dixon, Jimmy Lewis, Wally Richardson, Steve Wolfe" BOLA SETE: Voodoo Village Fantasy FCD-24779-2 ~ AVAILABLE 6/8 "By the time the great Brazilian guitarist-composer Bola Sete recorded the two albums paired herein, bossa nova had become the world?s most popular non-rock music?and surely its most spellbindingly melodic. Born Djalma de Andrade in 1923 (he died in 1987), Bola Sete was also by this point a somewhat familiar name in the U.S., having performed in clubs, hotel showrooms, and at several major jazz festivals; he was also ?New Star Guitarist? of 1965 in Down Beat magazine?s annual poll. On The Incomparable Bola Sete, recorded in 1964, he?s backed by three of Los Angeles?s finest jazz-studio players, including flutist Paul Horn, whose affinity for this music is readily apparent; he?s also heard on three selections with percussionist Johnny Rae who, like Sete, is overdubbed (the guitarist is heard on bass, as well). Autentico!, from 1966, finds the guitarist accompanied by his Brazilian working trio of the day. While bossa novas and soft sambas are the primary bill of fare, Bola Sete was also an accomplished European classical and flamenco artist, and the influence of those disciplines on his exquisite, virtuosic solos is bell-clear. Bolido, Lamento de Negro, Influência do Jazz, Voodoo Village, Saravá, Be-Bossa, Waltz of the City, Just Another Love, The Girl from Lodi, Original Joe?s, Brejeiro, Consolação, Quindim de Yaya, Soul Samba, Baion Blues, Pau de Arara, Coisa, Odeon, Mulher Rendeira" I have one each of the Bartz and Bley pairings on LP but will get me these nonetheless .... fond memories of the 1970's always will be tied to this music for me.

The above is a self-portrait, she did several very impressive ones. She was born in 1885 and took her own life in 1933 as a protest agianst the upcoming Nazi regime, who had just painted over some grand fresco she had done.

Anita Ree, German expresionist painter

Tamara de Lempicka. An image search will give you dozens of her paintings.

One method that always works is saving the image to your harddisk and then upload it as an attachment to your post - but that way it is only one image per post.

Another great tenor who did a ton of recordings, again, I never heard this guy play a bad note! Ira Gitler's book "Swing To Bop" is a good introduction on his career - he was one of the key figures in that transition of styles. (That book was dedicated to his memory.) He was a member of the Earl Hines quartet late in the Fatha's career, these I recommend, and his own group with Bill Pemberton and Oliver Jackson, the JPJ quartet - actually the fathaless Hines quartet - if you can find any of their LPs, which are all OOP. (Watch out to not confuse him with R&B bandleader Buddy Johnson.) The JPJ Quartet definitely would deserve the Mosaic (Select?) treatment! For starters, the titles avialable on OJC CDs are very nice: Budd Johnson CDs on the Fantasy website Some more:

LOVE IT !!!

Very nice to see this excellent release gets its due credit!

Never heard a bad note comin' out of his horns! One of the best! All of his Savoy dates I have are very nice. But on this one, there are three tenors, Gene Ammons, Frank Foster, and Wess, and he wins, to my ears! The stuff I have heard from the 1980's and newer in smal grooup contexts is also very good.

Have you considered moving to Stamford?

29. The kick you get when it goes OOP and you already have it 30. The even better kick you get when it's OOP and you can help out someone who broke a disc or didn't get it ...

I've always liked her trimbre and phrasing, and she scats well. Has a very nice way of experimenting without hitting extremes. I have a few of her records, most of them are probably very rare, there's even a self-produced LP among them "All Out", a duet with drummer Jerry Granelli, a live reording in a modern bop vein made in Seattle, and a Vocal Summit CD, etc. Sure deserves more credit than she got!

People gave up on their instruments in much less sharp company!!!

You're both on the list!

From the silliest albums covers thread: ... I think it's a very cool cover idea, attatching these tiny light bulbs to the mallets. B)

"... the hard of hearing" - ???

.... makes three!

I know you're not the one to blame, Jim!

Just to straighten my eyes out .... will someone tell this guy how to use his digital camera?

That Atlantic LP was a reissue - the original was on Randy Weston's own label Bakton. And Booker Ervin is on it, too .....